scholarly journals STRUCTURAL AND LINGUO-PRAGMATIC ASPECTS OF INTERNET MESSAGES IN ENGLISH

Author(s):  
Oksana Sakhniuk

The article presents the analysis of the structural and linguo-pragmatic peculiarities of Internet health forum messages in English. Pain is a well-known to everybody but at the same time rather private sensation that can be experienced only by person in pain and is differently viewed from the perspective of the person describing pain of another person. Talking about their own pain people feel quite comfortable, use a wide range of synonyms and adjectives that help convey in detail the quality of pain they experience. However, describing somebody’s pain people feel embarrassed, because they cannot feel the pain of another person. The article presents an attempt to describe the linguistic means used to convey pain from the first and the third person singular. The author analyses the English Internet health forum messages and the differences in the description of pain from the perspective of the person in pain and from the perspective of the person verbalizing pain of another person. These questions have not been the subject of linguistic research yet. In relation to the speaker all the verbs used to express pain were divided into the three groups: I know this pain / I have experienced it; I retell the words of another person and I see / observe what another person feels.

Author(s):  
В.Р. Аминева

На материале произведений современной татарской писательницы Р. Габдулхаковой выявляются конститутивные черты жанра парча в современной татарской литературе. Охарактеризованы жанровые разновидности парчи в творчестве Р. Габдулхаковой, которые соответствуют двум направлениям сюжетного движения: от внешнего к внутреннему или от единичного к универсальному и двум типам повествования - от 1-го или от 3-го лица. Художественное завершение в парчах первого типа определяется постижением некой нравственной истины, вытекающей из лично пережитой лирическим субъектом ситуации, в парчах второго типа оно создается переходом от отдельных явлений к их суммирующему итогу. Сделан вывод о том, что внутреннюю меру жанра определяет характер соотношения повествовательной фабулы и обобщающей ее «концовки». Описаны свойственные этому жанру пространственно-временные отношения и принципы организации субъектной сферы. Структурообразующая роль в парчах Р. Габдулхаковой отводится субъективно-лирическому началу в повествовании. В произведениях писательницы проявились как особенности ее творческой индивидуальности, так и типологические черты женской прозы в целом с ее повышенной эмоциональностью, автобиографичностью и проникновенностью. Большинство миниатюр Р. Габдулхаковой написаны от первого лица и представляют сознание женщины, сосредоточенной на переживании своего одиночества и «холода жизни», безответной любви и позднего раскаяния, боли утраты, преследующей каждого человека после ухода матери. Парчи, написанные от третьего лица, раскрывают сознание человека, знающего о существовании объективных закономерностей и пытающегося найти личный выход из безнадежных ситуаций. В творчестве Р. Габдулхаковой парча функционирует как синтетический жанр, вбирающий в себя элементы других жанровых форм. On the material of works of the modern Tatar writer R. Gabdulhakova the constitutive features of the genre of the parcha are revealed. Genre varieties of parcha in the work of R. Gabdulkhakova are characterized, which correspond to two directions of plot movement: from the external to the internal or from the individual to the universal, and two types of narrative-from 1 or 3 persons. Artistic completion in the parcha of the first type is determined by the realization of a certain moral truth arising from the situation personally experienced by the lyrical subject, in the parcha of the second type it is created by the transition from individual phenomena to their summing result. It is concluded that the internal measure of the genre determines the nature of the relationship between the narrative plot and its generalizing "ending". Space-time relations and principles of organization of the subject sphere peculiar to this genre are described. The structure-forming role in the parcha of R. Gabdulkhakova is assigned to the subjective-lyrical beginning in the narrative. The works of the writer manifested both the features of her creative individuality and the typological features of female prose in general with its increased emotionality, autobiography and penetration. Most of R. Gabdulhakova’s miniatures are written in the first person and represent the consciousness of a woman focused on experiencing her loneliness and “cold life”, unrequited love and late repentance, the pain of loss that haunts every person after leaving her mother. Рarcha written in the third person reveal the consciousness of a person who knows about the existence of objective laws and tries to find a personal way out of hopeless situations. Allegorical or symbolic imagery at the same time turns a personal scenario - into a typical, universal human one. In the work of R. Gabdulhakova parcha functions as a synthetic genre, incorporating elements of other genre forms.


1994 ◽  
Vol 6 (3) ◽  
pp. 239-253 ◽  
Author(s):  
Ruth King

ABSTRACTIn Newfoundland French the verb does not agree in number with a plural subject in one particular construction–subject relative clauses–but rather displays default singular marking. Agreement is made with the subject relative pronoun, which does not have a morphological feature for number associated with it. This absence of a number feature results in a form consistently spelled out as homophonous with the third-person singular. Gender agreement transmitted in subject relatives containing a predicate adjective is evidence that number marking is at issue, not agreement in general. An exception to this pattern is the (variable) marking of plural agreement in the il y en a construction, explained in terms that are independent from the analysis of the default singular. Newfoundland French agreement is then compared with data from other French varieties, and the approach taken in this study is compared with those of other studies of grammatical variation.


2014 ◽  
Vol 107 (4) ◽  
pp. 425-446
Author(s):  
Ayelet Even-Ezra

In the Second Epistle to the Corinthians, Paul writes: It is doubtless not profitable for me to boast. I will come to visions and revelations of the Lord: I know a man in Christ who fourteen years ago—whether in the body I do not know, or whether out of the body I do not know, God knows—such a one was caught up to the third heaven. And I know such a man—whether in the body or out of the body I do not know, God knows—how he was caught up into Paradise and heard inexpressible words, which it is not lawful for a man to utter. Of such a one I will boast; yet of myself I will not boast, except in my infirmities. (2 Cor 12:1–5 nkiv) This brief and enigmatic account is caught between multiple dialectics of power and infirmity, pride and humility, unveiling and secrecy. At this point in his letter Paul is turning to a new source of power in order to establish his authority against the crowd of boasting false apostles who populate the previous paragraphs. He wishes to divulge his intimate, occult knowledge of God, but at the same time keep his position as antihero that is prevalent throughout the epistle. These dialectics are enhanced by a sophisticated play of first and third person. The third person denotes the subject who experienced rapture fourteen years ago, while the first person denotes the narrator in the present. Only after several verses does the reader realize that these two are in fact the same person. This alienation allows Paul the intricate play of boasting, for “of such a one I will boast, yet of myself I will not boast.”


1999 ◽  
Vol 28 (1) ◽  
pp. 3-22
Author(s):  
Xu Liejiong

The special use of the 3rd person singular pronoun ta in Chinese distinguishes itself in that (i) its antecedent NP can be [±animate] and (ü) in that the antecedent can be plural as weIl as singular. Syntactically, the antecedent occurs typically as a sentence topic, a subtopic (i.e. topic within VP), as the object of ba, the subject of bei or the head of a relative clause. Semantically, a verb that takes such a pronoun as its object must be a predicate involving the features of disposal, telicity, irrealis and agentivity. This pronoun cannot be identified with any of the pronominal categories known from the literature, but it represents a new type: the D-pronoun.


Humaniora ◽  
2013 ◽  
Vol 4 (1) ◽  
pp. 11
Author(s):  
Sofi Zhang

Pronoun renjia is a personal pronoun and its basic functions similar to “other people”. But, in the actual use of pronoun renjia, it can refer to the third person “he, she, they”, refers to the second “you”, and refers to the first person "I, we ". Pronoun renjia has a wide range of functions with a rich function of rhetoric and rhetorical effect compared to the three pronouns. The context of classroom teaching, appropriate design of language environment of pronoun renjia will give student a better understanding on the pronoun renjia’s usage. 


2020 ◽  
Vol 17 (2) ◽  
pp. 202-233
Author(s):  
Reem Faraj

This study examines cases of morphosyntactic transfer from Syrian Arabic to Modern Standard Arabic (MSA) in the production of heritage speakers who are not only bilingual (L1 Syrian Arabic, L2 English), but also diglossic; Syrian Arabic is their heritage language (HL), and MSA is the form they learned in school. Two control groups, native speakers of Syrian Arabic and learners of MSA, were also included. The proposal presented here is that adolescent heritage speakers of Syrian Arabic have a more developed Syrian Arabic grammar, which results in- transfer to MSA, and that degree and duration of input-output and exposure to both varieties impact the type and number of non-target forms in the production of the studied heritage group. The goal is to find the extent of such transfer, how it is manifested, and whether it is also related to sentence and subject type or other factors. The focus of this study is verbs in SV and VS sentences in MSA, where the subject is a nominal DP and the verb is in the third person. The agreement patterns in VS and SV sentences are asymmetrical in MSA but they are not in Syrian Arabic. The SV order in MSA reflects different agreement patterns with both genders and all three numbers, whereas in Syrian Arabic there is one default non-singular verb form. In this paper I provide a formal account of the differences among the agreement patterns in MSA and Syrian Arabic within the Minimalist framework. Using this approach, a morphosyntactic transfer of agreement features from Syrian Arabic to MSA is argued to be a transfer of T0 features. The results demonstrate that errors in the MSA verb produced by the heritage speakers differ from those of MSA learners and that more than half of the heritage speakers’ errors are compatible with morphosyntactic agreement forms in Syrian Arabic. These findings provide evidence for transfer from Syrian Arabic to MSA. It is possible that when three linguistic systems are competing (L1, L2, and L3) and where L1 is the most dominant, L2 is less developed than L1 but more developed than L3, and L2 and L3 are typologically close, transfer takes place from L2 to L3. More research to address this question is needed. The study contributes to the understanding of agreement in heritage speakers’ production and the phenomenon of transfer in bilingual and diglossic situations.


2020 ◽  
Vol 113 (3) ◽  
pp. 1041-1068
Author(s):  
Anne-Sophie Vivier-Mureşan

AbstractThe theological formulation of the “eternal manifestation of the Spirit through the Son”, developed by the patriarch of Constantinople Gregory of Cyprus in the 13th century, has been the subject of numerous studies in the 20th century and played an important role in the renewal of Trinitarian Orthodox theology. The interpretations are however diverging. Most theologians see in this formulation the manifestation of the uncreated energy, which would have been formalized later by Gregory Palamas. Others understand it as a hypostatic reality concerning the third Person of the Trinity. This paper contributes to the discussion by re-analyzing the main texts of Gregory of Cyprus and of Gregory Palamas on this matter. In a first step, we defend the thesis that in the thought of the Byzantine patriarch, this expression truly concerns the hypostasis of the Spirit. In a second step, we question the existence of the theme of an “eternal manifestation” of the uncreated energy in the work of Gregory Palamas.


2019 ◽  
Vol 1 (2) ◽  
pp. 58-65
Author(s):  
Sijono Sijono ◽  
Thomas Joni Verawanto Aristo

Formal is formal links referring to the fact inside the language, that consist of verb form, parallelism, ellipsis, referring expression, conjunction, substitution, and repetition. This study uses descriptive qualitative research in which the researcher just describe the result of the implementation from the instruments and the data is obtained from articles, literary works, field notes, and personal documents in the form of words or pictures rather than numbers. The object of this study is formal links and the subject is Westlife’s songs. The analysis is taken from twelve songs of Westlife in their “Back Home” album. From the whole data the researcher found that most of songs consist of more than one formal link. The formal links are; Verb Form, Referring Expression, Repetition, Parallelism, Conjunction, and Substitution. From those formal links the most used in Westlife’s songs is Referring Expression, it can be seen that referring expression dominate the others links in eight songs from twelve songs. The songs that are dominated by referring expression are Us Against the World, Something Right, I’m Already There, When I’m With You, Have You Ever, It’s You, Catch My Breath and the Easy Way. From the result of analysis it can be concluded that  Westlife’s songs has deep meaning which always referring with other words or elements and they avoid to repeat the identity of what they are sharing about again and again. To referring the meaning that they posted in their song’s lyric they used the third person pronouns like he, she, we, our, it, his, her, them. For the suggestion, the researcher recommends to the next researchers to analyze another part of discourse analysis such as discourse structure, discourse as dialogue, knowledge on discourse, etc.Keyword: Formal Link, Song Lyric, Weslife’s Song 


2019 ◽  
Vol 135 (3) ◽  
pp. 201-216
Author(s):  
Maurice Vliegen

Abstract In the recent past a number of contributions have been published on the subject of Dutch seem and appear verbs. Special attention has been paid to the third person simple present of schijnt (‘seems’) in spoken Belgian and to some extent also in spoken Netherlandic Dutch (Van Bogaert & Colleman 2013). The authors propose a two way strategy – parataxis hypothesis and matrix hypothesis – in order to account for the realisations and positions of schijnt as in ’t schijnt sterven daar veel talen af (‘it seems many languages are expire there’) and … ze hebben – zo schijnt het – geen middelen … (they don’t have – as it seems – any means). However, it is argued here that the evidence for the matrix hypothesis is weak. As an alternative a derivation from the in spoken Belgian Dutch comparatively frequent construction naar het schijnt will be proposed.


Diachronica ◽  
2002 ◽  
Vol 19 (1) ◽  
pp. 43-80 ◽  
Author(s):  
Ives Goddard

Summary Word-initial high short vowels have two apparently unconditioned reflexes in Fox. Pre-Fox *o- (< Proto-Algonquian *we-) and *i- (< Proto-Algonquian *e-) are continued as o- and i- in some cases, but more frequently both become a-. Words that retained the high-vowel quality of o- and i- (which was sometimes subsequently lost) fall mostly into four sets: enclitics, highly topical nouns, words containing the third-person prefix, and words that bear a valence for an oblique complement. While this distributuion is clearly not random, it does not provide an explanation for the retention as long as the unaffected words are considered only as isolated lexical items. When, however, the patterns of the use of these classes of words in sentences are examined, they are all seen to have a greater tendency than others to occur after other words in closely linked phrases. This suggests that the retention of o- and i- can be explained as resulting from the blocking of the regular shift of these vowels to a- at the beginning of words that were closely linked to the preceding word in a phrase. Words with a greater tendency to appear in this sandhi environment generalized o- and i-, while other words tended to generalize a-. This case illustrates how sound change may operate at the sentence level (as Brugmann argued) and how it may thus correlate indirectly with patterns and categories of syntactic and discourse organization. Résumé En début de mot en Fox il y a deux traitements différents des voyelles brèves fermées. Dans certains cas le *o- et le *i- d’un stade antérieur (< protoalgonquien *we- et *e-), qui subsistent tels quels dans plusieurs langues algonquiennes, se maintiennent aussi en Fox, mais le plus souvent ces voyelles on abouti à a en Fox. Les mots qui conservent les timbres d’origine se rangent pour la plupart dans quatre catégories, à savoir: les enclitiques, les noms de grande topicalité inhérente, les mots qui contiennent le préfixe de la troisième personne, et les mots qui portent une valence grammaticale pour un complément oblique. Il est évident que cette répartition ne s’est pas faite par hasard, mais on ne s’explique pas pourquoi ce sont précisément ces mots qui conservent le timbre primitif de la voyelle initiale, du moins s’ils sont considérées comme des mots isolés. Mais quand par contre on examine l’usage des mots de ces quatre catégories dans la phrase, on constate qu’ils ont fortement tendance à être liés étroitement au mot précédent par la syntaxe et la phonétique de la phrase. Ce fait montre que le maintien de o- et de i- pourrait s’expliquer de la manière suivante: ces voyelles deviennent a- sauf dans le cas d’un mot qui est étroitement lié, phonétiquement, au mot précédent. Les mots tendant le plus à se trouver dans ces conditions de sandhi généralisent le o- et le i-, tandis que les autres mots dans la plupart des cas généralisent le a-. Cet exemple montre que le changement phonétique peut se réaliser dans le contexte de la phrase (comme l’avait affirmé Brugmann), et que par conséquent ses effets peuvent indirectement correspondre à des structures et des catégories de l’organisation de la phrase syntaxique et du discours. Zusammenfassung Im Anlaut zeigen kurze geschlossene Vokale zwei Entsprechungen im Fox, anscheinend ohne bestimmte Ursache für die Spaltung. In einigen Fällen werden das *o- und *i- einer früheren Stufe (< Proto-Algonkin *we- bzw. *e-), die in vielen Algonkinsprachen unverändert bleiben, auch im Fox behalten, aber häufiger treten die beiden als a- auf. Die Wörter, die die Urqualitäten der zwei Vokale behalten haben, ordnen sich meistens in vier Klassen ein, nämlich, Enklitika, Nomina von hoher innerer Topikalität, Wörter die das Präfix der dritten Person enthalten, und Wörter die eine grammatische Valenz für eine oblique Ergänzung tragen. Obgleich diese Verteilung offenbar nicht zufällig ist, so liefert sie doch keine Aufklärung für die Erhaltung von o- und i-, vorausgesetzt, dass die unveränderten Wörter nur als isolierte lexikalische Einheiten betrachtet werden. Wenn man hingegen die Gebrauchsmuster dieser Wortklassen in Sätzen untersucht, sieht man, dass sie mit höherer Wahrscheinlichkeit als zweiter Teil einer eng verbundenen Phrase zu finden sind. Diese Tatsache deutet an, dass sich die Erhaltung von o- und i- als Resultat der Blockierung des regelrechten Lautwechsels zu a- unter besonderen Sandhi-Umständen erklären lässt, nämlich wenn ein Wort mit dem betreffenden Vokal in einer eng verbundenen Phrase mit dem vorhergehenden Wort stand. Wörter mit der starken Neigung zu solcher Wortfügung haben o- und i- verallgemeinert, während andere dazu tendieren a- zu verallgemeinern. Dieses Beispiel zeigt, dass der Lautwandel als Satzphonetik wirken kann (wie Brugmann behauptet hat), und folglich in Wechselbeziehung mit Mustern und Kategorien der Syntax und des Diskurses stehen mag.


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